User's Manual

The Effects Chain Editor
Effects Parameters
8-6
When an eect with the Wet/Dry parameter is used in Chain that has been selected as an
Aux eect, Wet/Dry is automatically set to 100% wet and cannot be adjusted. is is because
when using an Aux eect, the dry signal is already eectively at 100% on the main audio bus
(not routed through the Aux eect.) In this case, turning up the Aux send level will blend the
100% wet signal (from the Aux bus) with the dry signal on the main audio bus.
Out Gain sets the gain at the output of an eect.
In/Out enables or disables the eect. You can think of it as a Wet/Dry parameter with only
two
HF Damping (high frequency damping) is the cuto (-3 dB) frequency of a 6dB/octave
lowpass lter that’s inserted before the processor. High frequencies above the set cuto
frequency will be ltered out. In the case of processors where multiple iterations of the signal
are heard, such as in a delay, each iteration of the signal will pass through the lter, and will
therefore be duller.
XCouple (Cross Couple). In stereo eects, this controls how much of any signal being
fed back is going to the channel opposite to the one where it rst appeared. At 100%, all
feedback from signals at the left input goes to the right channel and vice versa, causing a
“spreading” or in the case of delay lines, a “ping-pong” eect. At 0%, fed-back signals stay
with the channel they came in on.
A->B cfg (conguration). In combination eects that contain two (or more) components,
the order in which the signal passes through the two components can be changed with this
parameter. Combination eects are usually named with a “->”, as in 484 “Flange->Shaper.”
For example, 484 “Flange->Shaper” can be congured so the signal passes through the
anger rst and then the shaper, or through the shaper rst and then the anger. e cfg
parameter determines the conguration, and its value is context-sensitive—in this example,
the choices would be “Fl->Shp” and “Shp->Fl.”
A/Dry->B is also found in many combination eects, and controls the amount of signal
that will pass dry (unprocessed) through the rst component into the second component.
Dierent combination eects use dierent variations on this parameter, depending on the
context. e range is 0 to 100%.
Reverbs
Room Type changes the conguration of the eect to simulate a wide array of room types
and sizes including booths, small rooms, chambers, halls and large spaces. Because this
parameter changes the structure of the reverb eect, you need to be careful when assigning it
a MOD— changing it in real time while signal is passing through it is likely to cause audible
artifacts. Room types in dierent eects with similar names do not necessarily sound the
same.